Studies in the History of Sanskrit Poetics v2.c85.82

v2.c85.82

²⁹ See Vol. I, pp. 219f for a résumé of its contents. It deals with ten *guṇas* and one hundred *alaṃkāras*. The third chapter, curiously enough, is devoted to *lakṣaṇas*, which are not mentioned by later writers except in connexion with Dramaturgy (as in Viśvanātha). Instead of Bharata's 36 *lakṣaṇas* (ch. xvi 6-39; see above pp. 4-5), Jayadeva defines and illustrates only 10, viz. the economical combination of letters to convey a striking meaning (*akṣara-saṃhati*), the prohibition of a fault by the indication of an excellence (*śobhā*), the deliberation resulting in a negation of what is said (*abhimāna*), the determination of a proposition by a rejection of other possible alternatives (*hetu*), the disregard of well established causes (*pratiṣedha*), the interpretation of a name both as true and false (*nirukta*), false attribution where both the major and middle terms of a proposition are absent (*mithyādhyavasāya*), substantiation of the excellence of an object or by emphasising its well-matched resemblance to a well known object (*siddhi*), establishment of a particular attribute through the drift of two different meanings (*yukti*), and the accomplishment of a purpose through some action or occurrence (*phala*). Viśvanātha, however, adds 33 dramatic embellishments (*nāṭyālaṃkāras*) to his *lakṣaṇas* which are enumerated after Bharata, as 36 in number, but which do not correspond exactly to Bharata's